In this Nov. 19, 2012 photo provided Lincoln Center, Simon Keenlyside performs at the edge of the stage in the title role for a searing concert version of Berg's "Wozzeck" with the Philharmonia Orchestra at Avery Fisher Hall at Lincoln Center in New York. With the right singers and musicians, opera doesn't need sets and costumes to be convincing. The cast wore simple clothes, mostly black with some white, that would not have been out of place had they been listeners in the auditorium. The only props were a few bottles. There was no need to depict houses, streets and woods.The singers acted with such conviction that the 90-minute, three-act performance was riveting from start to finish. (AP Photo/Lincoln Center, Stephanie Berger)

The cast wore simple clothes, mostly black with some white, that would not have been out of place had they been listeners in the auditorium. The only props were a few bottles. There was no need to depict houses, streets and woods.

These singers acted with such conviction that the 90-minute, three-act performance was riveting from start to finish. Keenlyside, who completed a run Saturday as Prospero in Thomas Ades' "The Tempest" at the Metropolitan Opera, commanded the stage. Among those in the seats participating in the huge ovation at the end were baritone Thomas Hampson and mezzo-soprano Michelle DeYoung.

"Wozzeck," one of the great 20th-century operas, is based on Georg Buechner's play and depicts a tale of a soldier's alienation and descent into madness that culminates in the murder of his faithless girlfriend Marie.

With dark red suspenders, his shoulders slightly hunched, Keenlyside resembled Len Cariou's Sweeney Todd. His voice, inflection and movement combined to create an indelible portrayal, his mannerisms becoming increasingly agitated as the taunting from the blustery Captain (tenor Peter Hoare) and nasty Doctor (bass Tijl Faveyts) took its toll. By the time he saw Marie dancing with Drum Major (tenor Hubert Francis), Wozzeck's rage seemed to be a natural byproduct.